Omar Ebrahim began singing as a chorister at Coventry Cathedral and went on to study voice at the Guildhall School of Music and Drama. He served his performing apprenticeship at the Royal Shakespeare Company and Glyndebourne. He has been associated with many new music projects including The Electrification of the Soviet Union by Nigel Osbourne and Birtwistle’s The Second Mrs Kong for Glyndebourne Festival Opera, and Berio’s Un Re in Ascolto and Birtwistle’s Gawain for the Royal Opera House. He appeared in Liza lim’s opera The Navigator at the festivals in Brisbane and Melbourne and gave first performances of Enno Poppe’s concert and opera collaborations with Marcel Beyer - Interzone, Arbeit Nahrung, Wohnung and IQ - at the Berlin festival, Munich Biennale and Schwetzingen.

In exploring the connection between spoken word and song, he has helped recreate the sound worlds of Frank Zappa (Ensemble Modern, The Adventures of Greggary Peccary) and Blade Runner with the Heritage Orchestra. Other text led projects include Morton Feldman’s Words and Music and Frank O’Hara Songs with the Ensemble Recherche, King Gesar by Peter Lieberson for Munich Biennale. He is also closely associated with Ligeti’s Aventure et nouvelles Aventures. He has performed and recorded In the Penal Colony by Phillip Glass, Michael Nyman’s Facing Goya, Kris de foort’s House of the sleeping Beauties and John Harle’s ballad opera Jamie Allan.

Omar Ebrahim is delicious fun in the role, segueing smoothly from patronising defence lawyer mode into full aria

Marianka Swain, theartsdesk.com

Yentob (an exceptional Omar Ebrahim, who suggests a man utterly entranced by himself and the sound of his own glorious baritone, who feels absolutely no contrition whatsoever)

Georgina Brown, Daily Mail

The Suppliant Women

Actors Touring Company (Autumn 2016)

Omar Ebrahim gives a beautifully inflected, heartfelt performance as Danaus, the women’s father and spokesperson.

David Kettle, theartsdesk

the gifted individual performances of Oscar Batterham’s King or the Danaus of Omar Ebrahim

Simon Thompson, What's on Stage

The professional actors, Oscar Batterham, Omar Ebrahim and Gemma May are all extremely well cast. In particular Omar Ebrahim, as the father figure Danaus, has a hugely expressive voice and really exploits the rhythmic nature of the verse.

S.E. Webster, The Reviews Hub Scotland

Penderecki St Luke Passion, London Philharmonic Orchestra

Royal Festival Hall (March 2017)

Omar Ebrahim’s spoken Latin narrative…provided the weight and solemnity which feeds directly into centuries of sacred works, just as Penderecki intended it should.

Omar Ebrahim was urgent and impassioned in the spoken role of the Evangelist.

Barry Millington, The Evening Standard

Omar Ebrahim…followed Jurowski’s example in keeping up the dramatic pressure so effectively it had me wondering if this Passion might not be a candidate for being staged.

Peter Reed, Classical Source

The Narrator (A Flowering Tree)

Göteborg Opera (February 2015)

Omar Ebrahim was a figure of great dignity and gave us a lyrical baritone and clear enunciation of the text. His singing was particularly gripping as his voice echoed with the horror of Kumudha's mutilation.

Niklas Smith, Seen and Heard International

Omar Ebrahim’s ability to soar and float on the longer melodic phrases created a real sense of beauty as both music and time appeared to stand still.

Magnus Haglund, GP

Neige

Grand Theatre Luxembourg

Omar Ebrahim, giving a masterclass to the rest of the cast in a characterful and focused portrayal.

Keith Potter, Opera Magazine

Tongue of the Invisible – Liza Lim

Musik Fabrik Recording on WERGO (Oct 2013)

Baritone Omar Ebrahim needs to be heard to be believed—his is an astounding performance, demonstrating that love poetry can pack one hell of a punch.

In the Penal Colony

That ever-remarkable baritone Omar Ebrahim, always sensitive to text, had chilling authority as the Officer.

Fiona Maddocks, Observer

Omar Ebrahim's powerful and emotive Officer

Kenneth Walton, The Scotsman

Omar Ebrahim put flesh and blood on the blinkered Officer

Andrew Clark, Financial Times

Omar Ebrahim excels as the Officer

George Hall, The Stage

Omar Ebrahim, who sings The Officer, is extremely experienced in contemporary music theatre. His vocal range is prodigious, though not used here where the monotony of the music is part of the plot. Nonetheless, Ebrahim brings surprising lyricism to the part. Some passages shimmer with the fervour of Bach

Anne Ozorio, Opera Today

The heft and robustness of Omar Ebrahim’s baritone gives his performance of the Office an oddly noble solemnity that feeds directly into the work’s profoundly ironic character

Christopher Ballantine, Opera Magazine

Skellig

The Sage

the star is Omar Ebrahim. He wheezes, roars, belches and retches the part of Skellig with terrific verve

Richard Morrison, The Times

the magnificent Omar Ebrahim, who gave the early enfeebled Skellig a scary baritone rasp before declaiming his name in agreat melismatic shout at the end of the first half..... And then Skellig, who drops into the hospital to protect the child, finallybursts into full-throated song, a real hog-the-stage solo which Ebrahim relishes as he spreads both his wings and his voice.

David Ward, Observer

The casting for Braham Murray's production - the first full opera to be commissioned by the Sage - is first rate. Omar Ebrahimis outstanding as the arthritic angel: his emergence from a heap of old sacks prompts squeals of disgust from the youngaudience, and he is required to employ the full extent of his baritone range from guttural grunting to unearthly falsetto.

Omar Ebrahim gives a beautifully inflected, heartfelt performance as Danaus, the women’s father and spokesperson.

David Kettle, theartsdesk

the gifted individual performances of Oscar Batterham’s King or the Danaus of Omar Ebrahim

Simon Thompson, What's on Stage

The professional actors, Oscar Batterham, Omar Ebrahim and Gemma May are all extremely well cast. In particular Omar Ebrahim, as the father figure Danaus, has a hugely expressive voice and really exploits the rhythmic nature of the verse.

Omar Ebrahim was a figure of great dignity and gave us a lyrical baritone and clear enunciation of the text. His singing was particularly gripping as his voice echoed with the horror of Kumudha's mutilation.

Niklas Smith, Seen and Heard International

Omar Ebrahim’s ability to soar and float on the longer melodic phrases created a real sense of beauty as both music and time appeared to stand still.